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between me and god. medina, its streets adorned with smells from the bazaar, yet i have chosen to adorn myself in the still concrete of columns. i am for the transcription of the arabic. in the morning, he howled the song in the name of his father, perhaps new fathers weep at the birth of their sons. do not cry for leila or for him, but drink the red wine and grow your love doublely, one for the ruby in the cup, the other for its rouge on your cheek. bombs rape the eyes of the sleeping assyrian gods. as if it were only a sand box, a few worthless grains of sand. i'll cut for you the last swathe of blue from the sky, sever my and if you'll let me, but for 5 minutes more, leave me to sleep without the knowledge of war. a kanun weeps near the funeral of music. having been occupied, notes mourn for the loss of their song. i am for a concert of horses, the origin of gazelle leapt up from the heart of al gubungi. have you made small steps into the desert within us or listened for the gutterals longed deep within our throats, you would have come bearing gifts. i have nothing in red that i woul
to shake his hand, this uncomfortable tension between me and god. medina, its streets adorned with smells from the bazaar, yet i have chosen to adorn myself in the still concrete of columns. i am for the transcription of the arabic. in the morning, he howled the song in the name of his father, perhaps new fathers weep at the birth of their sons. do not cry for leila or for him, but drink the red wine and grow your love doublely, one for the ruby in the cup, the other for its rouge on your cheek. bombs rape the eyes of the sleeping assyrian gods. as if it were only a sand box, a few worthless grains of sand. i'll cut for you the last swathe of blue from the sky, sever my and if you'll let me, but for 5 minutes more, leave me to sleep without
. and it was kate medina. and she came to visit me, and we talked about the possibilities. and, frankly, i wasn't sure that it would work. i wasn't sure that what emerged would be of sufficient quality that i would be proud of it. i--i just didn't know what i was getting into. and kate medina was very kind and very patient, and i didn't want an advance because if i didn't like it, i didn't want anything to do with it. i wanted to see it before i knew that i wanted to go forward with this. i mean, if you put your name on something, you want to think, 'well, maybe it's ok.' and i was very concerned about that. but she was lovely to work with and encouraging, and so we just plugged along over a period of time, and we'd share things. and we got along perfectly in terms of what we wanted to do and cover. and we had only one area of substantive disagreement, and that was about how we should characterize our father. alan never left the ranch. i mean, he went to the university of arizona, and when he married, he came back to the ranch and worked there. and i think sometimes it's very hard for a father
. that takes a few months. medina are spending urges it is far from 70,000 shrimp farms -- land overs have displaced lots of owners. farmers take out loans to police the land it. there is that -- if they can be deskilled, and frozen for shipment. this is the hardest for me to document. there is the processing plants. i was taken away at small got -- smog gunpoint. i was violently taken away. that one is ok. the wages were low. there was no severe labor going on. i could not quantify so much of it was tainted. in net interest in the supply chain, i was able to quantify the ratio of shrimp around the world. that was one out of the 57 schrempp. i do not know the forced labor component. he will go lower will ask china to do the same kind of study. i cannot emphasize. what does that mean? every american eats what have and three pieces of shrimp a year attainted. that is what it meant to address global supply chains. this is the work done around to the world now to be a part of this entry is the supply chains. it is an important if we will tackle slavery. one final exercise i always go over on m
it and that is kate medina and london king and all of these ferocious women at random house. i am grateful to them. [applause] i also have to say that this book would not be possible without two other extraordinary women. they are my translators for this project and they risked more than i did to tell the stories. finally, i'm grateful to the courage of the people who allow their stories to be told. if this means anything, i think it's this. that small stories in so-called places matter and one of the reasons that they matter i think is because, because they implicate and they complicate what we generally consider to be the larger story in this country which is, and throughout the world which is the peoples who do have political and economic power. i would just like to remember anthony shadid who was one of those great believers in small stories and we miss him badly and thank you. [applause] [applause] >> i i love it when writers are at a loss for words. they are still eloquent. to present the 2012 national book award for fiction is lori moore. lori moore is the author of three story collections
to do it, and that's binky urban and kate medina and london king and all these ferocious women at random house. and i am grateful to them. [applause] i also have to say that this book would not be possible without two other extraordinary women which are they're -- [inaudible] who are my translators on this project and who risked more than i did to tell these stories. and finally i am grateful to the courage of the people who allowed their stories to be told. and if this prize, um, means anything, i think it's this: it's that small stories in so-called hidden places matter. and one of the reasons that they matter, i think, is because, because they implicate and they complicate what we generally consider to be the larger story in this country which is, you know, and throughout the world which is the story of people who do have political and economic power. and, um, i'd just like to remember anthony shadid who was one of those great believers in small stories, and we miss him badly and thank you. [applause] >> i love that when writers are at a loss of words, they are still eloquent. to pres
Search Results 0 to 5 of about 6